In the heart of the Medina, amid the flow of countless visitors, I was stopped by the quiet pulse of a single fountain. Guided by intuition, I began to photograph its jet as the sunlight shifted through the courtyard, revealing infinite variations of movement and form. Hours vanished in this suspended moment. What appeared to me as I went through the images was beyond comprehension — shapes born of light and water, hinting at a presence both fluid and alive. What began as a simple gesture became a meditation on perception, transformation, and the invisible life that moves through all things.
The Secret Garden — Marrakesh
December 2024. I am in Morocco to begin exploring water in Fez when a close friend of many years invites me to spend a week in this beautiful city at the foothills of the Atlas Mountains, just before the holidays. She suggests a number of places to visit, among them Le Jardin Secret, located in the heart of the Medina.
It is a place visited by thousands of people every day. I queue, pay the entrance fee, and my attention is caught by the jet of a fountain at the foot of the steps leading to the first patio, before the outer garden. I have no particular reason to take photographs there — it’s right along the passageway to the gardens — yet my intuition insists, and I listen.
I could not yet imagine the scale of the adventure I was about to enter. I take my first shots and very quickly slip into a kind of time-space bubble. In a few hours, I take more than 300 photographs of that same jet of water. The way the sunlight enters this place keeps changing completely, and I am totally absorbed by the infinite variations in the form and texture of the fountain’s spray.
I barely think of drinking or eating, taking only a short break on the terrace at the back of the garden before returning to edit the harvest from this improvised session. I haven’t even taken the time to explore the rest of these beautifully designed spaces.
What appears to me as I go through the images is beyond comprehension — so much so that I return every day that week, editing several hundred photographs, each more astonishing than the last. On the eve of my departure, I realise how shockingly impolite I must have seemed to my host, so completely absorbed was I in this place, as if nothing else existed.
(Forgive my passion, please, dear friend B.)
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What fascinates me is the endless variation in how water shapes itself — revealing new structures, new gestures, as the light shifts.


After three days, the guard and the director came to ask what on earth I was doing, since I was always in the same spot, photographing the same fountain, the same jet of water.
I already had some edited images on my phone, and when I showed them one, the guard said, “Yes, that’s the man with the wounded heart,” as if it were the most natural thing in the world.



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